Category Archives: Drama

Feb 16

Medea: Special Victims Unit – Corinth

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Medea with Chorus, L to R: Sarah Newhouse*, Obehi Janice, Jennie Israel* & McCaela Donovan © 2012 Stratton McCrady Photography

Medea by Euripides, Actors’ Shakespeare Project, Cambridge Multicultural Arts Center, 2/8/12-3/4/12,  http://www.actorsshakespeareproject.org/whats-new/medea.  Mature content.  Not recommended for children under 13.

Reviewed by Becca Kidwell

(Cambridge, MA) No one who watches Court TV or Law and Order can deny the pull of a good crime drama.  Even those who pretend to be indifferent or opposed to crime drama cannot help being drawn in (and for those who are still pretending that they don’t care, wasn’t that you who tweeted about the Casey Anthony trial all of those times?).  What may surprise audiences of Medea is that society hasn’t changed much in 4000 years.  Actors’ Shakespeare Project brings to life a Greek drama that examines the dark impulses and desires that haunt not only the “cultured” audiences from Greece’s Golden Age, but also the dark realities of our own society.

Before the play even starts, the audience is surrounded by an air of mystery and foreboding.   Continue reading →

Feb 12

Shouting and Spittle: MONSTER

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Monster by Neal Bell, Boston Center for American Performance/Boston University Theatre, Lane Comley Studio 210, 2/9/12-2/25/12, http://www.bu.edu/cfa/bcap/monster.html.

Reviewed by Craig Idlebrook

(Boston, MA) A play rarely works when the actors have to emotionally sprint throughout all acts.  A cast needs to pick its moments to ratchet up the tension and raise the stakes, or risk numbing the audience with melodrama.  Unfortunately, the Boston University production Monster begins at a precipice of volume and angst and never can climb down to connect with theatregoers.  Instead of communion, the production comes closer to an assault.

Monster is an ambitious staging of Mary Shelley’s Frankenstein.  At its best, the tale can be a window into the theme of the messy pain of creation and abandonment from God and/or our parents.  Continue reading →

Jan 26

‘A Number’ of Sons

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Mark Cohen and Danny Bryck, Photo Credit by Whistler in the Dark

 

A Number by Caryl Churchill, Whistler in the Dark, The Factory Theatre, 1/20/12-2/4/12, (in repertory with Fen by Caryl Churchill),  http://www.whistlerinthedark.com/productions/wantedsomething.html.

Reviewed by Becca Kidwell

(Boston, MA) If you were/are a parent, what would you do if you had a chance to fix the mistakes you made raising your child?  As a child, what would you do if your parents told you that you were not their original child, but a new, improved version made to fix the mistakes they made with their first child?  Caryl Churchill’s play, A Number deals with a controversial matter:  cloning.  Since the Dolly the sheep was cloned in the late nineties, fear and wonder has surrounded the possibility of cloning a human being.  This play speculates on what might result from such a procedure and the repercussions of such a decision upon a father and his son. Continue reading →

Jan 25

FEN: In Between Living and Breathing

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Fen by Caryl Churchill, Whistler in the Dark, The Factory Theatre, 1/20/12-2/4/12, (in repertory with A Number by Caryl Churchill),  http://www.whistlerinthedark.com/productions/wantedsomething.html.

Reviewed by Becca Kidwell

(Boston, MA) A lone girl sits amongst the dirt and potatoes of this agrarian society trying to chase away birds until she can try no more.  Striving for more than mere existence in a world controlled by tradition and an inflexible economy often seems futile in the Fenland.  Whistler In The Dark compels the audience to exist and hope with the characters for something more.

As the women in the play sing various choruses to songs, one is struck by the pure beauty in these women in this desolate place.  One also struggles with the evisceration of these women as they give their lives and their souls to the land.  With the assistance of Danny Bryck and an enormous amount of concentration, the actors speak with the flawless dialect of the British countryside.  Each cast member plays multiple characters in this dark landscape.  The main plot revolves around Val (Aimee Rose Ranger) who is trapped between her obligation to take care of her children and a desire for a better life in London with her lover.  She takes no solace in the vices of the other local folk such as valium, religion, dreams, or masochism as she is constantly pulled in both directions.  The one direction that she would want to go in, to London and a new life seems millions of miles away.

Continue reading →

Jan 24

Sugar: A Naturally Sweetened Life Story

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Sugar by Robbie McCauley, ArtsEmerson, Jackie Liebergott Black Box in the Paramount Center, 1/20/12-1/29/12, http://alturl.com/fj8j3.

Reviewed by Gillian Daniels

(Boston, MA) Robbie McCauley begins the story of her life reciting food from her Georgia upbringing in the 1940’s.  In detail, she describes cake and succulent barbecue ribs, the taste of Southern cooking compacted with an African American childhood restricted by racial segregation.  She cheerfully rattles off the names of her favorite dishes and the relatives she best associates with them before revealing the diabetes with which she continues to fight. Continue reading →

Jan 23

Green Eyes: A Room With A View

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Alan Brincks and Erin Markey Photo: Travis Chamberlain

Green Eyes  by Tennessee Williams, Company One in collaboration with Chris Keegan and The Kindness, The Ames Hotel, 1/18/12-2/26/12, http://www.companyone.org/Season13/Green_Eyes/info.shtml.  Contains nudity.

Reviewed by Anthony Geehan

(Boston, MA) “Welcome to my honeymoon,” the manic looking blond in the short white dress says “I do expect an invitation to yours.” She snaps a picture of the audience on an out of date Polaroid and then has one of its members unzip her dress as she strips down and gets into bed. This is the first part of the voyeuristic experience that is Green Eyes, a lost Tennessee Williams play currently being put on by a Company One and The Kindness at the Ames Hotel in Boston. Continue reading →

Jan 19

ART: A Matter of Perspective

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l. to r. Robert Pemberton as Marc and Robert Walsh as Serge in 'ART'. Photo by Andrew Brilliant/ Brilliant Pictures.

Art by Yasmina Reza, New Repertory Theatre, Arsenal Center for the Arts, 1/15/12-2/5/12, http://newrep.org/art.php.

Reviewed by Becca Kidwell

(Watertown, MA) Art is…well, about art–the styles, philosophies, the impact on the individual.  When a person creates a work of art, using quality tools always helps in creating a quality piece (although that’s not to say that there aren’t some interesting works of art made from found objects).  Antonio Ocampo-Guzman starts with some of the finest:  a brilliant script and a trio of Boston talent.  Without any deeper analysis, those are two reasons to see the show.  The problem with art, as the play postulates, is that art is subjective and will not necessarily be seen the same through the same lens by each person. Continue reading →

Jan 16

A Mainly Nutritious Treat: Superior Donuts

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Will LeBow, Omar Robinson. Photo by Mark S. Howard

Superior Donuts by Tracy Letts, Lyric Stage, 1/6/12-2/4/12, https://lyricstage.com/main_stage/superior_donuts/.

Reviewed by Craig Idlebrook

(Boston, MA) Allow me to digress right from the get-go and say that it’s worth the price of admission of Superior Donuts to watch Lyric Stage Producing Artistic Director Spiro Veloudos give his send-up of the standard fire-exits-and-cell-phones spiel before this play begins. A theater that sets loose a dry wit like Veloudos on the crowd before the play begins is bound to produce something worthwhile.

And Superior Donuts doesn’t disappoint.  Continue reading →

Jan 13

Hovey Players Present CLOSER

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From press release:

(January 13, 2012) — Hovey Players present CLOSER by Patrick Marber, directed by Kristin Hughes, and produced by Nicole Sparks.  The Cast includes Sara Jane Burns as Alice, Robin Gabrielli as Dan, Bill Stambaugh as Larry, and Melissa Sine as Anna.

CLOSER focuses on the complex relationships and sexual politics, and morality of four people trading partners in search of love, intimacy, and being closer. By turns funny, scabrous, and tragic, this winner of the 1998 Olivier Award for Best Play and the 1999 New York Drama Critics Circle Award for Best Foreign Play offers a brutal and honest look at the pitfalls of modern romance.

Performances are January 13, 14, 20, 21, 26, 27 & 28, at 8pm, and January 22 at 2pm.

Tickets are $18 General Admission and $15 Seniors and Students.

Performances will be at the Abbott Memorial Theater, 9 Spring Street, Joel’s Way, Waltham, MA, next to the Waltham Public Library.  Reservations can be made by calling (781) 893-9171 or you may email reservations@hoveyplayers.com.

Jan 08

Riveting Art: RED

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Photo: Craig Bailey/Perspective Photo — with Thomas Derrah and Karl Baker Olson.

Red by John Logan,  Speakeasy Stage, Virginia Wimberly Theatre at the Boston Center for the Arts, 1/6/12-2/4/14, http://www.speakeasystage.com/doc.php?section=showpage&page=red.

Reviewed by Craig Idlebrook

(Boston, MA) It’s one thing to pull off an entertaining melodrama, it’s quite another to stage a debate on art and make it captivating.  While the play Red may be too intellectual to be everyone’s cup of tea, it is engrossing, especially in this strong production staged by SpeakEasy.

The two-person play centers on renowned 20th century visual artist Mark Rothko (Thomas Derrah) and his first attempt to create a series of murals for the Four Seasons Restaurant in New York City.  Continue reading →